| Anonymous SAID:|
what would be the best way to describe being beaten? not exactly torture, but during the fight, and getting hit without just saying a punch to the stomach, and what would be the best reaction of that? i know some, like to your stomach can knock the breath out of you, but among other things?
How a character reacts to a hit to the stomach will depend on whether or not they had the presence of mind to tighten their abdominal muscles before the impact occurs. This is where the concept of the breath being knocked out of the body comes from, it’s a natural reaction to being hit. If you exhale all the air from your lungs, you’ll notice that your abdominal muscles automatically tighen and the body, particularly the shoulders, curl inwards pulling back. This is the concept behind the kihap, or the loud shout, that occurs in most martial arts when hitting the target. The kihap forces all the air from the lungs, making the muscles of the attackers body tighten at the key moments before impact with their victims body. The problem, of course, with the reaction is that it won’t really help to mitigate the effects of punch to the stomach if the exhalation occurs after the punch is thrown.
As with almost everything to do with combat, timing is key.
Basically, the character is going to feel like they want to throw up. They may actually throw up. A hit to the stomach will force it back into an unnatural position, one that is very uncomfortable. Dizziness, dropping the head as the body comes forward to protect the stomach, arms automatically moving to protect (i.e. wrap their arms around) the injured area. You can also expect a sudden flood of adrenaline if the victim is taken by surprise and sometimes even if they’re not as the body kicks over into fight or flight mode.
So, there could be a sudden increase in heart rate, a loss of fine motor control, a bitter taste in the mouth, etc. And of course, because all the air has suddenly left the body, they’ll be attempting to suck it down like there’s no tomorrow. The effects will be more immediate if the attack is unexpected, so: shock, surprise, anger, fear, panic, all these mental reactions can be used to stun lock the mind and leave the victim incapable of fighting back. If the person in question is unused to experiencing that kind of pain, the effects will be greater and the recovery much more slow. The more used to this particular variety of pain they are, the more hardened they will be to it.
Don’t think of it as an immunity, but rather something more easily ignored. It’s similar in concept to the idea of working out. In the beginning, your muscles are screaming and you feel like you’re going to die. But, as time passes and you keep working at it, it gets easier and the pain of your muscles doing things they don’t want to do becomes more familiar and more easily ignored. Taking a hit is relatively similar, though much more immediate and difficult to overcome.
When getting hit in the face, such as the nose, expect rapid swelling and possibly blood. So, a warm, wet feeling on the face, a taste of copper in the mouth, a sharp stinging pain right between the eyes, it will interfere with vision. Tasting your own blood is a rather surreal experience. People, for the most part, do not react well to it. The head snaps back and will again, drop forward right into the next hit if the victim isn’t careful. Any hit to the face (or really at all) invites the possibility of biting the tongue, especially if the victim isn’t wearing a mouth guard. If that happens, there will be more blood in the mouth, pain, panic, and gagging. For a hit below the eye expect rapid swelling, stinging pain, and loss of vision. There will be visible bruises that will last for, oh, a good week or more afterward.
Bruises are common in all parts of the body when they get hit and they last a long time. If your character fights constantly, they will show that wear and tear in all it’s glory on their body. It can last for a month, depending on how deep the bruises go. When I was training it wasn’t uncommon for me to find small welts all over my body, so much so that when I see a bruise now I just shrug it off.
During my third degree test, I took a roundhouse to my forearm and it became one, big mass of a bruise. I had a matched set for about two weeks, because I’d used the other arm for brick breaking.
The hand of the attacker will also bruise and possibly cut the skin, both on the victim’s body and the attacker’s knuckles. It’s worth remembering that a proper punch is necessary to keep the hand from breaking many of the small bones on impact. But hitting someone else is going to sting. Attacking better protected places on the body, like the rib cage, or the face, will be more obvious as opposed to hitting in the soft places like the throat or the stomach, still the hands will show signs of being in a fight regardless.
This is why the concept of “I don’t want to hurt anyone” is a nice sentiment, but complete bull. Want has nothing to do with it. Combat is a choice. If you fight or fight back, you’re going to hurt someone even if that person is just yourself. The question is not really “do I hurt them at all” but how far do you go and can you live with the consequences.
In specific instances, there’s the possibility of friction burns from the clothes rubbing against the body.
And of course, the most important and long lasting effect on the mind: shame. Also, guilt.
There’s more to it, but at that point it’s a good idea to start looking through medical and forensics textbooks on the subject. This is a little morbid, but in order to generate the right kind of feeling, you may want to stop and look at images of people who have been battered. Hollywood is very clean and combat is ugly. If you want to know how to describe something, you need to know what it actually looks like and decide whether or not it’s something you want to bring into your story.
(Edit: I should also point out that there is no “best” way to do anything, just the best that you’re capable of while working with the scene and how the themes there fit within the overall narrative. Violence is an excellent way to evoke emotion, but readers do have a threshold. How realistic you are is going to depend a lot on what you want them to be seeing and feeling when they read that scene. A sequence that is too vicious and too raw without properly being set up by the narrative runs the risk of knocking the reader out of the moment. This isn’t me saying don’t do it, just make sure you’re balancing realism with the needs of your story. A brutal beating is a key moment for a character, but it shouldn’t happen on the page more than once in a book that’s not dealing with abuse and brutal beatings (and even sometimes when it is). Work with what you’re capable of writing and marry that to what your comfortable with, after you’ve assessed what those limits are, feel free to push away at them as needed.
In the end, you’re the only one who can really figure out what your story needs to function.)
Here are a few things to keep in mind when you’re choosing what point of view to stick with in your story.
Who has access to the real conflict?
The first question to ask yourself is whether your character has the correct amount of access. Stories are about conflict — so have you chosen the character who actually is able to see the conflict and comment on it? To see a political conflict from the perspective of the politician’s four-year-old son, for example, won’t capture the sophisticated power struggles at play. On the other hand, writing from the point of view of the parent who is never home won’t work if all the drama is happening at home. You must choose a character who is able to see everything that the reader must see in the course of the story.
After the jump: more questions to consider when choosing your point of view.
Who is in a position to change the story?
The second thing to remember is that it won’t do any good if your character can see everything but can’t do anything about it. Stories run on choice and change; they cannot be passive observation only. Be sure to choose to write from the point of view of a character who has the power to actually change things in the story and have a choice. While there may be many victims in the story, if they are powerless than it is not really their story that you are telling. You’ve got the find the character who sees these victims and makes a choice to do something about it, or else fails to do something about it.
Stick with it?
I began this post by telling you to stick with a point of view, but there are, of course, many situations when changing up the point of view is appropriate. This is more true in novels than in stories, where there’s more room to develop multiple characters. But changing the point of view at a crucial moment can add greatly to the development of your plot. It can add to mystery and suspense, or give us the final revelation the story needs. So if something is being held back in the course of your story, consider saving a switch to a more enlightened point of view for the very end. It’ll be the final punch of emotion that your reader needs.
by BLH on Writerly Life
More Information On POV
i did a super quick facial expression tutorial cuz people suggested it
NIKKI’S ALL ENCOMPASSING CITATION TUTORIAL
Holy fuck I wish I had this for my big essay last year. ><
I WISH I HAD THIS 2 WEEKS AGO F;LKSJ
When you are proofreading your post, you are falling victim to what Chabris and Simons call the “illusion of expectation.” Your brain is wired to find what is expected: an error-free post. Basically, your brain is on auto-correct, so you actually do not see the typos. They are invisible.
25 Hot Chocolate Recipes!
- Pumpkin Spice White Hot Chocolate / Tatertots and Jello
- S’mores Hot Chocolate / Minimalist Baker
- Cookies and Cream Hot Chocolate / The Recipe Critic
- Bourbon Spiked Hot Chocolate / Chasing Delicious
- Spiked Pumpkin Pie White Hot Chocolate / Diethood
- Spicy Hot Chocolate Mocha / Diethood
- Kahlua Peppermint Mocha Hot Chocolate / Dine and Dish
- Mint White Hot Chocolate / Babble
- Nutella Hot Chocolate / KitchMe
- Salted Caramel Hot Chocolate / A Beautiful Mess
- White Chocolate Hot Cocoa / Lil Luna
- Mexican Hot Chocolate with Dulce de Leche Spiced Cream / Babble
- Coconut Tres Leches Hot Chocolate / Mel’s Kitchen Cafe
- Crock Pot Hot Cocoa / Get Crocked
- Caramel Corn Hot Chocolate / Recipe Girl
- Peanut Butter Hot Chocolate / Ready Set Eat
- White Peppermint Hot Chocolate / Mel’s Kitchen Cafe
- Mexican Spiced Hot Chocolate / Gimme Some Oven
- Rich Dutch Hot Chocolate / Pixi Wishes
- Lavender Hot Chocolate / Because I’m Addicted
- Mayan Hot Chocolate / Latinaish
- Butterscotch Hot Chocolate / The Hopeless Housewife
- Cinammon Orange Hot Chocolate / Joy the Baker
- Gingerbread Hot Chocolate / My Recipes
- Oreo Hot Chocolate / Sweet C’s Designs
Horror is considered a separate genre, but these three genres often overlap.
- Paranormal Romance: Romance with a paranormal element. However, the romance outweighs the paranormal aspect in most cases, but is still an integral part to the story.
- Urban Fantasy: Urban fantasy is often used interchangeably with “paranormal”. It takes place in urban areas and has fantasy, paranormal, or supernatural elements.
- Dark Fantasy: This genre is a cross over between horror and fantasy. It has fantasy and horror elements, but does not focus on them as heavily as other genres. This would be considered paranormal rather than supernatural.
- Gothic Horror: This used to be the name for the horror genre. This genre is not related to the goth fashion style. There are several forms of this genre (English, American, southern) that may involve romance or a sense of being “trapped”. Paranormal creatures (like ghosts and other creatures associated with the afterlife or death) are quite popular in this genre.
See Basic Horror Writing Guide for a general overview and some resources.
There is often a paranormal or supernatural element in horror, most likely some form of ghosts. However, there are also other elements present.
Certain abilities given to humans may fall within this category. This can include telekinesis, clairvoyance, and telepathy, among others. However, these abilities often come secondary to the horror element or the main horror creatures (ghosts, psychological torture, etc.). They should come second if horror is the main aspect of the story. Once these elements become primary, you’ve left the horror genre (primarily).
But, as with horror, including paranormal and supernatural elements must be there to further the thrill, suspense, or horror of the story. With supernatural and paranormal fiction, those elements should be integral to the story.
PARANORMAL VS SUPERNATURAL
This is a personal opinion
Supernatural: Something inexplicable that defies the laws of nature or something that was once a part of nature, only to defy it.
Paranormal: Something that shows signs of being beyond scientific understanding.
As noted in the definitions above, supernatural deals with transformation from the ordinary to the impossible. Paranormal deals with something beyond us, like clairvoyance.
Paranormal fiction tends to be lighter and it often has a romantic feel to it. When I say “romantic”, I do not necessarily mean love, but showing something in a light that makes it better than it actually is. Supernatural fiction tends to fall on the side of gritty horror more often than not.
What falls under each definition depends on who you ask, but abilities (for example, telekinesis) are generally considered paranormal while certain creatures (werewolves and vampires) are considered supernatural.
CREATURES & CLICHES
With this genre comes otherworldly creatures. Right now, the genre is heavy with angels, demons, vampires, and werewolves. While there’s nothing wrong with writing about those creatures, it’s good to expand. After all, supernatural and paranormal are forms of fantasy. You can do anything.
Research some underused creatures and put a new twist on them. Use them as a base for a creature of your own creation. Go nuts with these creatures and make them unique.
They can thrive in one environment and suffer in another. They can be subject to evolution. They can be associated with a certain element or symbol. Give them odd abilities and give them reasons for this. Make up your own mythologies.Yet with the four main creatures mentioned above comes cliches. We’re all sick of them and you should challenge yourself to write outside these cliches, though you can still rework a cliche and make it unique.There is a group of cliches in paranormal romance that stand out from the rest because they are harmful. For example, male love interests who are brooding, possessive, and creepy yet written as desirable.An important point to remember when you’re creating creatures is not to go so far that these become something else entirely. You can’t take away the fundamental characteristics if you’re trying to be unique. That destroys the creature. Your vampires don’t have to sleep in coffins or turn into bats, but you can’t really take away the blood drinking thing, can you? That’s the main characteristic of vampiric creatures (and there are many).More:
- Ten Worst Vampire Cliches
- The A-Typical Vampire
- Supernatural Creatures Inspiration/Definitions
- Vampire Cliches
- Werewolf Cliches
- Werewolf Genre Pet Peeves
- Writing an Overused Supernatural Creature
- Vampire Tropes
- A Guide on Zombies
- Guide to Ghosts
- Describing Fantastic Creatures
- Werebeast Tropes
- Tropes of the Living Dead
- Writing Zombies
- Sea Creatures
- Birds: Mythology
- Cliches in Paranormal Novels
- Is Your YA Paranormal Romance Cliche Enough? (chart)
- Cliches in Paranormal Romance
- Top 13 Paranormal Romance Cliches
- YA Common Cliches: Paranormal Romance
- Overplayed Urban Fantasy Cliche 1 2 3 4
- Fantasy/Urban Fantasy Cliches
- Mythical Creatures List
- Mythical Creatures A-Z
- List of Mythical Creatures
- Magical/Mythical Creatures
Some music to listen to while writing:
Bad Moon Rising | Black River Killer | Blood Circus | Come Little Children | Davy Jones Music Box | Ghost Riders in the Sky | Hell | Hell Hound Blues | Herr Drosselmeye’s Doll | Hotel California | House of the Rising Sun | The Killing Moon | Mr Crowley | Oogie Boogie’s Song | Sympathy for the Devil | This House is Haunted | This is Halloween | Void
- Supernatural Romance
- Books with Angels, Gods, or Demons
- Best Gothic Books of All Time
- Ghost Stories
- Angels & Demons
- Favorite Ghost Stories
- Best Books About Faeries
- Paranormal’s/Urban Fantasies That Don’t Suck
- Haunted Houses
- Paranormal in New Orleans
- Best Gothic Novels/Suspense Novels
- Forbidden Love in Fantasy/Paranormal/Supernatural
- Supernatural and Addictive Fantasy
- Best Shapeshifters
- Books with Supernatural Females
- Bone Chilling Paranormal Romance
- Anything But Vampires
- 19th Century Supernatural Horror
- Gay Horror
- I See Dead People
- Killer Ghost Stories
- Uncommon Supernatural Creatures
- Gothic Paranormal
- Best Adult Urban Fantasy and Paranormal Romance
- Indie Books - Paranormal Fiction
- Humorous Paranormal Books
- Hot Paranormal Romance
- Werewolf and Shifter Romance
- Paranormal Book Lists
- Not the “Normal” Paranormal
- Literary Fiction Meets Paranormal Romance
- Gay Paranormal Romance
- Lesbian Paranormal/Urban Fantasy
- How-to Choose
- How-to Pair w/Food
- Using The Right Glass Shows You Have Class
- Basic Types of Wine
- Expanded typing of Wines
- What Temp For EachType of Wine
- Knowing Your Wine Colors
- Wine Type Descriptions
- Caloric Comparison vs. Beer
A friend once told me (while discussing wines & spirits) to learn about coffees too… " Because you’ll eventually need them, if / when you enjoy too much good spirits."How to be an Adult 201
Holy shit my ppt is used as a resource in this???
ok some notes!!:
- the sexual and romantic orientation spectrums should be bi-spectrum graphs including the asexual spectrum on top of the allosexual spectrum and then merging into each other in the middle, representing gray-asexuality
- Genderqueer is an Umbrella term for all gender identities outside the gender binary, including but not equating to Genderfluidity
- Genderqueer does not fall between male/female genders, but rather includes all genders apart from those (ex. bigender, agender, non-binary, etc.)
- Transgender is most usually used in reference to gender binary conforming individuals, who identify with the gender they were not assigned at birth. (ex. mtf & ftm)
- without conforming to the gender binary, (i.e. “opposite gender”) heterosexuality can be defined as “attraction to one other gender, besides your own”
:) otherwise a very well-made and thoughtful presentation it’s rlly great!